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¶ … Afraid of Virginia Woolf' by Edward Albee
This is a paper on the play 'Who's Afraid of Virginia Woolf' by Edward Albee.
A three-part theater play, 'Who's Afraid of Virginia Woolf' by Edward Albee presents a typical insight on the disturbed and somewhat revengeful life of a married couple, George and Martha. The era when the play was first performed is that of the late 1950s, a period dominated by a loving American President (D.Eisenhower), and good family values were considered as well as emphasized at all levels including American politics and culture. Thus, having a car, owning a house, and having kids were all deemed to present symbols of a perfectly happy family. In spite of all these aspects, there were events in the lives of people, which more often not than remained hidden, and the subject play strives to highlight those hidden feelings, and characteristics of people who continued to live their lives often pretending, or creating a world of their own in their attempts to hide their true feelings of hatred, revenge and lack of being successful in their real lives. The couple of George and Martha do exactly this and from the beginning of the play right to the end, their entire conversations and acts exemplify their hatred for each other. It is also observed that neither George nor Martha make any attempt to stop their negative and sometimes insulting behavior against each...
The play culminates as the couples, Martha and George, and Nick and Honey are observed to involve themselves amidst a heavy alcohol-drinking spree, and using drinking as a camouflage for their real intentions, psychologically blackmail each other, with verbal abuses. The audience of the play is thus bemused as all the four adults of the play successfully demonstrate how people in real lives can turn a happy marriage into a hell by failing to admit, accept or even acknowledge their weaknesses. (Liu, 2001)
As to the relationship and categorization of the play 'Who's Afraid of the Virginia Woolf?' with absurdity in the eyes of Martin Esslin, we would have to clarify the concept of absurdity before we decide the play's fate. The concept, or the notion of absurdity emerges from the feelings of deep illusionment that in turn shows the loosening the hold on the very meaning of life and its purpose. This was more evident in the countries of France and Britain, and the period was immediately after the end of the World War II. Neither the United States of America as a free country, not its population ever indulged in such meaningless attitudes, as from the very beginning the Americans have been known to exemplify and progress towards the typical dream of…
References
Liu, Cecilia. Who's Afraid of Virginia Woolf', (1962), 2001 at http://www.eng.fju.edu.tw/iacd_2001F/asynchronous_drama/whosafraid.htm
Author not available, Who's Afraid of Virginia Woolf (1962), Notes on Absurd Drama, McGraw Hill Encyclopedia of Theatre, p.29-30 (accessed on 04.08.2003) and available at http://www.drama21c.net/class/absurdnotes.htm
The giant who was once a demi-god suddenly becomes a devil's minion. This revelation rests within the woman's power; Virginia had no problem openly revealing George's impotence, failure in his career, and turn of temperament while Nora - admittedly a bit more gracious, though none the less cunning - did nothing to Torvald's immediate public image. The harm to Torvald would come later, when explaining why his wife and
Virginia Woolf's a Portrait of the Artist as a Young Man In his novel, A Portrait of the Artist as a Young Man, James Joyce employs symbols and motifs to illustrate Stephen's maturity and growth. Joyce brings to mind the myth of Icarus and Daedalus, which help us understand Stephen's thoughts and actions. Joyce also includes such symbols as color and water to demonstrate the Stephen's development. In addition, Joyce utilizes
Afraid of Virginia Woolf? Classic tragedies possess tragic heroes and cataclysmic endings. Otherwise strong and potentially great leaders fall prey to human character flaws such as hubris. In a true tragedy, the protagonist does not emerge victorious, but rather, typically brings about their own and others' downfalls. Tragic heroes squander their personal power and usually learn from their mistakes, but moments too late. Classical tragedies rarely have more than a
Early in the play, George says "I am preoccupied with history" (Albee 50). George is a humanities professor, but Albee is saying more than that, as the couple's story shows as the play continues. Both characters are products of their childhood, and have never really matured from their childhood, which is why they act like children in their marriage. George has guilt about his parents, and makes up stories
Virginia Woolf and Her Works as Mediums of Feminism Virginia Woolf was among the rare writers who have put their talents and ideologies into writings, particularly as a patron of equality to women. Considered as one of the founders of feminism, there were quite a number of literary works that show Woolf's passion for promoting feminism. Some of this includes the following literary masterpieces. To the Lighthouse A Room on One's Own (1929) Three
Martha/Virginia Woolf Fleeing the Big Bad Wolf: Martha's Fear of Female Power in Who's Afraid of Virginia Woolf Edward Albee's play Who's Afraid of Virginia Woolf exposes the underbelly of a dysfunctional marriage that has reached the point of viciousness. George and Martha, the two main characters, are crippled with disappointment, both with themselves and with each other. Martha in particular has reached a point of utter despair, though it often masquerades as